Kooperativer Bibliotheksverbund

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Format: 1 Online-Ressource (344 p)

Edition: [Online-Ausgabe]

ISBN: 9781503613003

Series Statement: South Asia in Motion

Content: Frontmatter -- Contents -- Illustrations -- Preface -- Introduction: Partisan Aesthetics: Configurations -- Introduction: Partisan Aesthetics: Configurations -- 1. “Political Potentiality”: Jamini Roy and the Formations of Progressive Art Criticism -- 2. “As Agitator and Organizer”: Socialist Realism and Artist-cadres of the Communist Party of India -- 3. “Concrete Contextuality”: Realism and Its Discontents in the Art of the Calcutta Group -- PART II. Postcolonial Displacements -- 4. “All the More Real for Not Being Preached”: Forms and Futures of Socialist Art in Nehruvian India -- 5. “Revolution in the Tropics, Love in the Tropics”: Arts of Displacement in the Post-colony -- Postscript: Toward an Aesthetics of Decolonization -- Notes -- Bibliography -- Index

Content: Partisan Aesthetics explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political through interactions with left-wing activism during the 1940s, and the afterlives of such interactions in post-independence India. Using an archive of artists and artist collectives working in Calcutta from these decades, Sanjukta Sunderason argues that artists became political not only as reporters, organizers and cadre of India's Communist Party, or socialist fellow travelers, but through shifting modes of political participations and dissociations. Unmooring questions of Indian modernism from its hitherto dominant harnesses to national or global affiliations, Sunderason activates, instead, distinctly locational histories that refract transnational currents. She analyzes largely unknown and dispersed archives—drawings, diaries, posters, periodicals, and pamphlets, alongside paintings and prints—and insists that art as archive is foundational to understanding modern art's socialist affiliations during India's long decolonization. By bringing together expanding fields of South Asian art, global modernisms, and Third World cultures, Partisan Aesthetics generates a new narrative that combines political history of Indian modernism, social history of postcolonial cultural criticism, and intellectual history of decolonization

Note: Mode of access: Internet via World Wide Web. , In English

Language: English

DOI: 10.1515/9781503613003

URL: lizenzpflichtig

URL: lizenzpflichtig

URL: Cover

UID:

Format: 1 online resource (xvi, 318 pages) , Illustrationen

ISBN: 9781503613003

Series Statement: South Asia in Motion

Content: Partisan Aesthetics explores art's entanglements with conjunctural and climactic histories of late-colonial and postcolonial India, to foreground political, social, and intellectual formations of modern art during India's long decolonization.

Note: Description based on publisher supplied metadata and other sources

Additional Edition: ISBN 9781503611948

Additional Edition: Erscheint auch als Druck-Ausgabe Sunderason, Sanjukta Partisan aesthetics Stanford, California : Stanford University Press, 2020 ISBN 9781503612990

Additional Edition: ISBN 9781503611948

Language: English

Keywords: Indien ; Postkolonialismus ; Politische Kunst

URL: lizenzpflichtig

UID:

Format: 1 online resource (340 pages)

ISBN: 1-5036-1300-3

Series Statement: South Asia in Motion

Content: Partisan Aesthetics explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political through interactions with left-wing activism during the 1940s, and the afterlives of such interactions in post-independence India. Using an archive of artists and artist collectives working in Calcutta from these decades, Sanjukta Sunderason argues that artists became political not only as reporters, organizers and cadre of India's Communist Party, or socialist fellow travelers, but through shifting modes of political participations and dissociations. Unmooring questions of Indian modernism from its hitherto dominant harnesses to national or global affiliations, Sunderason activates, instead, distinctly locational histories that refract transnational currents. She analyzes largely unknown and dispersed archives—drawings, diaries, posters, periodicals, and pamphlets, alongside paintings and prints—and insists that art as archive is foundational to understanding modern art's socialist affiliations during India's long decolonization. By bringing together expanding fields of South Asian art, global modernisms, and Third World cultures, Partisan Aesthetics generates a new narrative that combines political history of Indian modernism, social history of postcolonial cultural criticism, and intellectual history of decolonization.

Note: Frontmatter -- , Contents -- , Illustrations -- , Preface -- , Introduction: Partisan Aesthetics: Configurations -- , Introduction: Partisan Aesthetics: Configurations -- , 1. “Political Potentiality”: Jamini Roy and the Formations of Progressive Art Criticism -- , 2. “As Agitator and Organizer”: Socialist Realism and Artist-cadres of the Communist Party of India -- , 3. “Concrete Contextuality”: Realism and Its Discontents in the Art of the Calcutta Group -- , PART II. Postcolonial Displacements -- , 4. “All the More Real for Not Being Preached”: Forms and Futures of Socialist Art in Nehruvian India -- , 5. “Revolution in the Tropics, Love in the Tropics”: Arts of Displacement in the Post-colony -- , Postscript: Toward an Aesthetics of Decolonization -- , Notes -- , Bibliography -- , Index

Additional Edition: Print version: Sunderason, Sanjukta. Partisan aesthetics. Stanford, California : Stanford University Press, [2020] ISBN 9781503611948

Language: English

DOI: 10.1515/9781503613003